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New Music Monday: The Budos Band

By Dave Sanford October 13, 2014

new music monday budos band

Burnt Offering, the new album from The Budos Band, is a wild, booze-fueled ride of hazy riffs, take-no-prisoners horn lines and relentless percussion that summons the occult – an evolved sound for this mighty 10-piece band sparked by their love of Black Sabbath and Pentagram. Burnt Offering, The Budos Band’s first album in four years, will be released October 21 on Daptone Records. Says Pitchfork of The Budos Band: “So tight and in tune that they’ve basically become this telepathically-communicating instrumental hydra that ambushes you into moving your body on its terms.”

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Burnt Offering was recorded live in the studio, engineered and produced by Tom Brenneck, a founding member and guitarist in The Budos Band who runs Dunham Records and Studios and has worked with Cee-lo Green, The Black Lips and more. It was written at the band’s longtime Staten Island studio, where they’ve gathered for weekly rehearsals for over fifteen years. The haunting album cover was created by drummer Brian Profilio, a NYC public school art teacher.

The new album is dripping with the psychedelic sounds of early heavy metal fused with the tight-knit propulsion of Fela Kuti. “The Sticks” kicks off with a snarling riff seamlessly doubled on bass and guitar and unfurls into sludgy breakdowns and searing guitars. The title track was recorded with a Binson Echorec, a classic tape machine used by Pink Floyd / Syd Barrett.

The Budos Band has brought their loud, rowdy parties to venues and festivals across the globe, and their music has been featured everywhere from skate videos to video games (MLB The Show), TV (Entourage), and film (New York, I Love You).

Order Burnt Offering on Amazon or iTunes!

http://thebudos.com/

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Rather than simply mashing together Baird's vocals over fuzzed out psych rock, Heron Oblivion judiciously combine the two. At times Baird leads the album's songs with her vocal melodies, while at other times she allows the wah wah pedals to take the lead. What makes this work so well—why the instruments and vocals don't simply sound mashed together—is Baird's impressive ability to control the tone of her voice. On many of Heron Oblivion's songs, Baird's voice is reminiscent of Sandy Denny's, hinting at inspiration from the British folk revival. That sound comes across strongest in lead single, "Oriar." The song begins aggressively, but the fuzz quickly subsides as Baird begins to sing.

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With inspiration from the early Christian Desert Fathers and Sufi mysticism alike, the record Landes and Faccini have produced a delicate, ethereal record that still feels substantial. Landes and Faccini's voices float above a variety of instruments, including: kora, resonator guitar, and Indian dulcimer, among others.

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New Music Monday: Bruce Springsteen

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Born to Run may have celebrated the 40th anniversary of its release this year, but it was a different Bruce Springsteen record that saw a box set released in its honor in 2015: The River. Titled The Ties That Bind: The River Collection, the set contains a wealth of content, including (deep breath): a remastered version of the original double album, the collection of songs that comprised Springsteen's scrapped initial version of the album, outtakes from the recording of The River, songs that were dropped from the final tracklist, a documentary about the making of the album, two and half hours of concert footage from the 1980 tour, and footage of Springsteen and the E-Street Band rehearsing for that tour. All in all, The Ties That Bind has 52 tracks and four hours of video, not to mention a hefty coffee table book. Suffice to say, it's quite the package.

Originally released in 1980, The River was Springsteen's followup to Darkness on the Edge of Town, and in many ways the record came out of its predecessor. After finishing Darkness, Springsteen found that he had more to say about the themes he had addressed on the album. There were tracks that did not fit on Darkness for one reason or another, but which still needed to see the light of day. Those songs would eventually become part of the The Ties That Bind, Springsteen's initial (but unreleased) take on The River. The Ties That Behind, however, was not what Springsteen wanted for his followup to Darkness. As the artist himself noted, "Originally [The River] was a single record. I handed it in with just one record, and I took it back because I didn't feel it was big enough. I wanted to capture the themes I had been writing about on Darkness. I wanted to keep those characters with me and at the same time added music that made our live shows so much fun and joy for our audience."